@@tobiaspeter6555 Well, this has changed, so this has fallen off considerably. I'd say D 960 and D 958, but outside of the last 3, which are my top 3 at this point, I'd pick D 840 and D 894.
OMG I never heard this before! And I'm a degree holding pianist. I think it must not be popular for it's lack of drama and quiet ending. But it's exquisite! I'm going to start learning it as soon as I can get my hands on a score..
There is drama, at the beginning. It's quite lurching...then it slowly fades into the 2nd movement with a quiet, neutral songlike form. The 3rd movement is otherworldly...you can't get this with dramatic endings!!!
@@raffichenYeah, I was just trying to figure out based on how pianists choose their programs why they passed one as beautiful as this. I think it's almost unknown which is definitely too bad.
@@nadiaboulanger9323 I think one thing concert pianists do is try to squeeze shorter, more bombastic pieces into programs to try to impress audiences to show variety as much as possible, especially to please audiences. Then you definitely end up hearing pieces like la campanella all too much. The Schuberts are only heard as a part of a cycle, and mostly only the last ones (and some others such as the G major) are heard. This one may be passed up as less mature, passed up as a Beethoven inspiration. But it has many gems in it's own respect - those I cannot find elsewhere (or have not yet).
@@raffichen Yeah, and Schubert's piano sonatas are long, and I wonder if the modern audience can even sit still for that, given the constant distractions of our lives today and the instant gratification that is available to us nowadays.
This is not Schubert's Piano Sonata No. 7. It is some diverging and eccentric interpretation of it. Why? Because the performer repeatedly ignores the dynamic markings on the score. For example, notes in the 1st movement which are meant to be accented, are not accented. And other notes are accented, where this is not indicated. And, in particular, consider the section starting from 6:09, which is marked piano (p) in the score, but the performer instead adds huge crescendos and almost reaches ff. This is all rather disappointing. I would say further, that if Schubert had lived longer, he might have revised some of his scores and made some improvements to the piano sonatas. I say this because the scores are a bit awkward in places. But, I don't think it is reasonable to just ignore his performance directions, as he left them, and improvise some new version according to the whim of the performer.
May depend on the edition. Henle edition I have is marked forte when the right hand octaves start which I presume is the point you are referring to. (bar 124)
![Mozart - Sonata for Two Pianos in D, K. 448 [complete]](http://i.ytimg.com/vi/tT9gT5bqi6Y/mqdefault.jpg)
His piano sonata in E flat major is the most beautiful piece ever written, hands down. 😊
My third favorite Schubert sonata, all too underrated. If I get the chance I'll reply w/ a long rant about how good it is.
Which are your two most favorite Schubert sonatas?
@@tobiaspeter6555 Well, this has changed, so this has fallen off considerably. I'd say D 960 and D 958, but outside of the last 3, which are my top 3 at this point, I'd pick D 840 and D 894.
A very lilting beautiful score and soulful utterance. Schubert’s genius was easygoing sweet and fragrant expansive. PWG
I promised myself I would learn and play a Schubert piano sonata every year for the rest of my life barring mental or neurological infirmity
I like the "weberianesque " second theme of the first movement....
Thursday 3pm is the highlight of my week. Also first!
OMG I never heard this before! And I'm a degree holding pianist. I think it must not be popular for it's lack of drama and quiet ending. But it's exquisite! I'm going to start learning it as soon as I can get my hands on a score..
There is drama, at the beginning. It's quite lurching...then it slowly fades into the 2nd movement with a quiet, neutral songlike form. The 3rd movement is otherworldly...you can't get this with dramatic endings!!!
@@raffichenYeah, I was just trying to figure out based on how pianists choose their programs why they passed one as beautiful as this. I think it's almost unknown which is definitely too bad.
@@raffichenBut I get what you're saying. It's a great piece, for sure.
@@nadiaboulanger9323 I think one thing concert pianists do is try to squeeze shorter, more bombastic pieces into programs to try to impress audiences to show variety as much as possible, especially to please audiences. Then you definitely end up hearing pieces like la campanella all too much. The Schuberts are only heard as a part of a cycle, and mostly only the last ones (and some others such as the G major) are heard. This one may be passed up as less mature, passed up as a Beethoven inspiration. But it has many gems in it's own respect - those I cannot find elsewhere (or have not yet).
@@raffichen Yeah, and Schubert's piano sonatas are long, and I wonder if the modern audience can even sit still for that, given the constant distractions of our lives today and the instant gratification that is available to us nowadays.
The beginning of the second movement kind of sounds like the 1st movement of Beethoven's (attributed) sonatina in G major
I can see the similarity; but also it's kind of a pretty popular motif before and after Beethoven or Schubert.
Very pretty
Гениально!
it's not no.7, it's no.8
Haha, numbers are quite difficult with schubert sonatas!! just enjoy the music
It’s no.2 in my score, the Henle Verlag Urtext!
The first movement was set for grade 8 piano (when grade 8 pieces used to be more difficult..)
I feel like it works for grade 8, at a slightly slower tempo. But I don't know if they would be able to hold it together musically...
This is not Schubert's Piano Sonata No. 7. It is some diverging and eccentric interpretation of it. Why? Because the performer repeatedly ignores the dynamic markings on the score. For example, notes in the 1st movement which are meant to be accented, are not accented. And other notes are accented, where this is not indicated. And, in particular, consider the section starting from 6:09, which is marked piano (p) in the score, but the performer instead adds huge crescendos and almost reaches ff. This is all rather disappointing. I would say further, that if Schubert had lived longer, he might have revised some of his scores and made some improvements to the piano sonatas. I say this because the scores are a bit awkward in places. But, I don't think it is reasonable to just ignore his performance directions, as he left them, and improvise some new version according to the whim of the performer.
May depend on the edition.
Henle edition I have is marked forte when the right hand octaves start which I presume is the point you are referring to. (bar 124)
@@marcellouswp31 Must be, Schiff is one of the most "stick to the score" pianists you'll ever find.